O Potencial Artístico da Arquitectura e a sua Apropriação no Espaço Público

• Autor(a) principal: Tiago José Salvado Atalaia
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://hdl.handle.net/10216/149845
• topic: Artes; Arts

Throughout my training at the School of Architecture, University of Porto, I developed a growing interest in the approach to the fields of architecture from other art disciplines. I always tried to understand how architectural objects and sculptures fits in the city, serve society and how these intrinsic intention to adapt to a particular place. This context must also implies a specific response of a determined population and it is this constant dialogue between the work and public meeting that is the essence for the preparation of this work. The work is structured in three parts: In the first titled The Museum: the conventional living room, there is a brief review of the relationship between art object and museum. Are listed the characteristics and qualities idealized space for the exhibition of the artwork. Such formulations expressed were based on texts by Brian O'Doherty whose reflections in the book Inside the White Cube, became decisive for the present study. This chapter serves mainly to introduce us to transition from display of artwork for public space. The second part of The City: the new exhibition hall is an interpretation of how the art object changes and transforms the urban environment. This is subdivided into three chapters: In the first chapter Art as a public space, architectural works will be analyzed, whose own building, characterized by its artistic potential, defines and characterizes the public space. The example of the Guggenheim Museum Bilbao (1997) Frank Gehry, it serves us to reflect on the relationship between the architectural object and public space. Other selected examples of the collection of architectural culture of those who write here are construction works that reiterate this relationship in other ways: The Holocaust Memorial, Berlin (2005), Peter Eisenman and the Pavilion of Portugal, Lisbon (1998), by Alvaro Siza Vieira. In the second chapter Art in public space, it will verify the necessity of including sculptural elements associated with the building architecture to complement the design and qualification of the urban space, thus allowing to create different atmospheres and feelings with which the user is identify. To develop this chapter it became important to analyze the work Tilted Arc (1987) by Richard Serra installed at Federal Plaza in New York, which launched the controversial new areas of public art. The case study considered is the Portugal Pavilion, Venice Biennale (2008) by Eduardo Souto de Moura and Ângelo de Sousa. In the third chapter Art of public interest, will understand the approach of art to the public through urban intervention considering the scale of the city and its global impact. The author Nicolas Bourriaud developed a new understanding of the concept of public art directed to social problems which demand solutions part of the new practices of public space. Whithin this context the project will be analyzed: Vertical Gardens, São Paulo (2007) by Atelier Bijari and Arq. José Subero.